Arts & Entertainment
Lesbian seeks support for new documentary
Student chronicling effort behind D.C. Women’s Initiative
A vintage clipping used in Kelsey Brannan’s in-the-works lesbian documentary. (Image courtesy of Brennan)
A local director is seeking the support of the LGBT community to help her tell a story she’s passionate about.
Georgetown University student Kelsey Brannan and the Washington Blade are hosting a preview of Brannan’s upcoming documentary “Labor of Love” at the Blade offices (1712 14th St., 2nd floor) on Dec. 13 at 7 p.m. Following the 10-minute preview will be a Q&A segment with Brannan and subjects of the film.
Complimentary wine will be served and guests are encouraged to network, socialize and discuss what they would like from a new space.
“Labor of Love” follows the D.C. Women’s Initiative, founded this past March, in its mission to establish a physical space to connect lesbians in the community and existing organizations together. Their goal is to open a space in March. The documentary also includes vignettes highlighting the history of former lesbian spaces in D.C., including Sisterspace and Lammas Bookstore.
In the film, former Lammas Bookstore owner Denise Bump reflects on the impact the store had, saying it was part of a movement of women helping other women. She hopes to see something similar in the new center. Bump is head of the D.C. Women’s Initiative and will be available during the event’s Q&A segment.
The evening is largely a fundraising event. Brannan is attempting to reach a goal of $15,000 by Jan. 1. The funds will go to hiring a full-time editor, composer and cinematographer and cover other production costs. She has raised $2,800 through startsomegood.com. All donations will be canceled if she does not meet the goal by the deadline. While she is confident she will be successful, if she falls short, Brannan said she will explore other outlets of fundraising.
She hopes the event will generate interest in the documentary throughout the lesbian community. In a written statement, Brannan says, “The event is designed to get people more engaged with the project, secure more donors and get feedback from the community about what women want from a new space.”
Brannan estimates that about 40 percent of her filming is complete, thanks to “the generosity of my friends with cameras.” Filming will continue in January and February and the documentary will premiere in late April.
Brannan began developing the film as her master’s thesis project, which she defends in May. When she first arrived in Washington, Brannan searched for a physical space where she and other lesbians could spend time and connect with the community. In a video statement on her film’s website (laboroflovefilm.org), she says she discovered a history of such spaces, which no longer exist, compiled by the Rainbow History Project.
“It’s hard to tap into a community when you move to a new place,” Brannan says, commenting on her early days in D.C. “I wanted to look into the past to see why these spaces existed and why they disappeared.”
This personal desire to find a community became the inspiration for her film.
The project has two components. Brannan plans to expand the documentary and show it at festivals, including the Reel Affirmations Xtra series in June. There is also an archive on the film’s site featuring clips, interview segments and personal stories about the importance of having such spaces for women. Brannan plans for the project to be ongoing.
In the film, D.C. Women’s Initiative member June Crenshaw explains how such a space would fill a void in the community.
“The space is not going take the place of all of the organizations and groups that are out there doing a whole host of wonderful things,” she says, “but it’s really going to provide that centralized place for us to find each other.”
Brannan credits her community as a driving force behind the documentary and appreciates the support she has received. “Every woman I interviewed was a huge part of the project,” she says. “Without them, it wouldn’t be possible, and without the D.C. Women’s Initiative space, I wouldn’t have a narrative.”
Honoring Individual Power and Strength (HIPS) will celebrate its 30th anniversary by providing essential health and social services on Saturday, April 5 at 6 p.m. at 906 H St., N.E.
This event will be a celebration of the ongoing generosity of local D.C. business, philanthropists, and residents who step up to help us support those most in need in our neighborhoods. At this event you will join other HIPS stakeholders and community members for music and performances from local queer talent and learn more about some of the work the group has accomplished in the past 30 years to ensure everyone in our neighborhoods has access to HIV, viral hepatitis, and STI testing. For more details, visit the HIPS website.
Capital Pride Alliance and the Washington Wizards will host “Pride Night” on Thursday, March 27 at 7 p.m. Ticket purchases come with a limited-edition Wizards Pride belt bag. There are limited quantities.
Tickets start at $31 and can be purchased on the Wizards’ website.
Theater
Celebrated local talent Regina Aquino is back on the boards
Queer actor starring in Arena Stage’s ‘The Age of Innocence’
‘The Age of Innocence’
Through March 30
Arena Stage
1101 Sixth St., S.W.
Tickets start at $59
Arenastage.org
Actor, director, and now filmmaker, celebrated local talent Regina Aquino is back on the boards in Arena Stage’s “The Age of Innocence,” staged by the company’s artistic director Hana S. Sharif.
Adapted by Karen Zacarías from Edith Wharton’s 1920 masterpiece novel, the work surrounds a love triangle involving New York scion Newland Archer, his young fiancée, and the unconventional beauty Countess Olenska. The Gilded Age-set piece sets up a struggle between rigid societal norms and following one’s own heart.
Aquino — a queer-identified first-generation Filipino immigrant who grew up in the DMV— is the first Filipino American actress to receive a Helen Hayes Award (2019). She won for her work in Theater Alliance’s “The Events.”
In “The Age of Innocence,” Aquino plays Newland’s mother Adeline Archer, a widow who lives with her unmarried, socially awkward daughter Janey. No longer a face on the dinner party circuit, she does enjoy gossiping at home, especially with her close friend Mr. Sillerton Jackson, a “confirmed bachelor” and social arbiter. Together, they sip drinks and talk about what’s happening among their elite Manhattan set.
WASHINGTON BLADE: Do you like Mrs. Archer?
REGINA AQUINO: There’s a lot of joy in playing this character. She’s very exuberant in those moments with her bestie Sillerton. Otherwise, there’s not much for her to do. In Wharton’s book, it says that Mrs. Archer’s preferred pastime is growing ferns.
BLADE: But she can be rather ruthless?
AQUINO: When it comes to her family, yes. She’s protective, which I understand. When she feels that her family’s under attack in any way, or the structure of the society that upholds way of life is threatened, she leans hard into that.
The rare times that she’s out in society you see the boundaries come up, and the performative aspect of what society means. She can be very mean if she wants to be.
BLADE: Can you relate?
AQUINO: I come from a large Filipino matriarchal family. Mrs. Archer is someone I recognize. When I’m in the Philippines, I’m around people like that. People who will do business with you but won’t let you into their inner circle.
BLADE: Did you ever imagine yourself playing a woman like Mrs. Archer?
AQUINO: No. However, in the past couple of years diversely cast TV shows like “Bridgerton” and “Queen Charlotte” have filled a need for me that I didn’t I know I had.
With stories like “The Age of Innocence” that are so specific about American history, they aren’t always easily imagined by American audiences when performed by a diverse cast.
But when Karen [Zacarías] wrote the play, she imagined it as a diverse cast. What they’re presenting is reflective of all the different people that make up America.
BLADE: You seem a part of many groups. How does that work?
AQUINO: For me, the code switching is real. Whether I’m with my queer family, Filipinos, or artists of color. It’s different. The way we talk about the world, it shifts. I speak Tiglao in the Philippines or here I may fall into an accent depending on who I’m with.
BLADE: And tell me about costume designer Fabio Tablini’s wonderful clothes.
AQUINO: Aren’t they gorgeous? At the Arena costume shop, they build things to fit to your body. It’s not often we get to wear these couture things. As actors we’re in the costumes for three hours a night but these women, who the characters are based on, wore these corseted gowns all day, every day. It’s amazing how much these clothes help in building your character. I’ve found new ways of expressing myself when my waist is cinched down to 26 inches.
BLADE: Arena’s Fichandler Stage is theatre-in-the-round. Great for costumes. How about you?
AQUINO: This is my favorite kind of acting. In the round there’s nowhere to hide. Your whole body is acting. There’s somebody somewhere who can see every part of you. Very much how we move in real life. I find it easier.
BLADE: While the Gilded Age was opulent for some, it wasn’t a particularly easy time for working people.
AQUINO: The play includes commentary on class. Never mind money. If you’re not authentic to who you are and connecting with the people you love, you’re not going to be happy. The idea of Newland doing what he wants, and Countess Olenska’s journey toward freedom is very threatening to my character, Mrs. Archer. Today, these same oppressive structures are doing everything here to shutdown feelings of liberation. That’s where the heart of this story lands for me.
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